apply to a superstar and an unknown artist, different concepts would apply to a scientificpublication, a fashion magazine, or an international newspaper. In my view, a mixedmodel will almost always be the outcome: less or no control here, some new kind of control process there, and always carefully balanced with the shifts in the marketplace.For established companies such as the NYT, there is yet another angle: The highlylucrative, B2B archive services that the NYT provides to companies such as Gale or LexisNexis will obviously need to be kept separate from a 100% open-archive model.This is one example of the challenges traditional media companies are facing in thisnew, lesser-controlled, paid-with-attention world.But let’s take this outside the realm of newspapers. For the music industry, the NYT’sTimesSelect experience shows us that a radio-like, feels-like-free listening experience iscrucial — and that is what the use of music on social networks represents. Socialnetworks are the new radio, with the caveat that going forward they will also have toinclude on-demand and interactive uses of music, such as widgets and personalplaylists. I will cover this in one of my next chapters, on “The Widgetization of Media.”In short, as a consumer-facing company in this new control-less, liquid, user-empowering media ecosystem, you can become or remain a leading player only if youdo not cling to tightly controlling access in an attempt to immediately monetize it.
Sell Everything Around the Content
So what does the NYT really sell? Is it the content itself? Is it those highly paid editorsand writers? ;-) Is it the actual paper it’s printed on? The answer is in itself a blueprint for media: They sell everything around the content, but the content itself feels like free. 1.2million people buying the daily paper for $1.25 does not generate enough money toproduce, print, and distribute it; running NYT events and conferences does not; sellingclassified ads does not; online ad banners do not; About.com does not; the NYT’s radiostations do not; syndicating reviews does not…but the sum of all parts sure does!Some people may argue that in ten years there will be no need for a print edition of theNYT any longer, and some people argue there will be no more CDs in 10 years either. Iwould offer a different angle: They will still exist but they will be a lot more expensive, apremium product with all kinds of added values that only a physical product can deliver (at least for the next 10 years).In music, I think we will have a new, superior physical format emerging in three to fiveyears. It may be rather expensive, and offered at steep premiums, but it will be built on aubiquitous flat rate for music that makes marketing of such a product easy.
All the News That’s Fit To Click
Now here is an interesting variation of the age-old NYT tagline, All the News That’s FitTo Print! The printing has become clicking. To take it further, as I like to do, the buyinghas become clicking. I click and therefore I generate revenue. I participate and thereforeI add value. I get engaged and I pay with attention. Take this theme into music, film, or TV: All the Music That’s Fit to Play. Now that sounds like a great tagline for radio, or indeed for another version of iTunes and the now-WiFi’ed iPod. Just imagine the power